Mastered Impeccably By Joe Reagoso At Capitol Records And Manufactured At R.T.I.

The Allman Brothers Band continue to be known as one of the original rock super groups of
the late sixties who have a knack of mastering rock and blues grooves drenched in gospel, soul
and country rock. With a plethora of amazing albums over their almost five decade career, The
Allman Brothers Band have truly created some of the finest music ever waxed for the classic
rock era.

In 1980, The Allman Brothers Band greeted the new decade with a smokin’ new line-up,
a new label and a great new recording with Reach For The Sky. This stunning Arista Records
release featured a good amount of AOR radio classics like Dickey Betts’ Hell & High Water,
Gregg Allman’s stellar Mystery Woman, the magnificent instrumental From The Madness Of The
West, plus a surprise hit single with their southern rock classic Angeline. Augmented with two
new band members the late great “Dangerous” Dan Toler on guitar and David Goldflies on bass,
this top selling rock classic hasn’t been available on vinyl for many decades…that is until now!

Friday Music is very proud to announce for the first time ever the stunning 180 Gram
Audiophile Vinyl and gatefold cover presentation of Reach For The Sky by The Allman Brothers
Band. Mastered impeccably by Joe Reagoso at Friday Music Studios and Capitol Mastering in
Hollywood and manufactured at R.T.I., this original Arista Records classic truly reaches sonic
heights in the audiophile vinyl domain. We have also included the original artwork elements and
photos not seen in LP cover form in years!

Angeline…

Track Listing:
1. Hell & High Water
2. Mystery Woman
3. From The Madness Of The West
4. I Got A Right To Be Wrong
5. Angeline
6. Famous Last Words
7. Keep On Keepin’ On
8. So Long

The Allman Brothers

When the Allman Brothers Band initially began soldiering on as a quintet in 1972, following the death of Duane, it was Berry Oakley who most filled in the sizable gap, playing with a newfound ferocity and focus. This slice of the Allman Brothers at the Hollywood Bowl in August of 1972, clearly displays the band continuing to forge their musical vision following on from Duanes death. Capturing their set, as well as the first of two encores with Texas guitar slinger Johnny Winter as a guest, the group's music still has plenty of fire, inspired jamming and that intangible spiritual quality that was at the heart of their finest work.

The Allman Brothers Band

Unrivaled Sonics: Mastered from the Original Master Tapes, Mobile Fidelity Edition Provides Window Into What Transpired in Macon Studios

Dickey Betts Leads Group Through Mellower Country Rock, Pairs With Pianist Chuck Leavell

Chart-Topping Album Includes Smash “Ramblin’ Man” and Favorites “Jessica” and “Southbound”

Brothers and Sisters is significant for myriad reasons. It’s the first album the Allman Brothers Band made in its entirety after Duane Allman’s death. It also came after bassist Berry Oakley’s spookily similar passing, yet he appears on two of the songs. The 1973 set also marks the emergence of guitarist Dickey Betts as the collective’s leader. And pianist Chuck Leavell’s arrival. But for than anything else, the record remains noteworthy for its incredible soulfulness and completeness.

Mastered from the original master tapes and pressed on dead-quiet vinyl RTI, Mobile Fidelity’s 180 gram LP of Brothers and Sisters joins the unparalleled reissue imprint’s other Allman titles in presenting the superlative ensemble’s work in the most lifelike, uncompromised fidelity possible. Whether it’s the feather-light harmonic layering of the collective’s background vocals, echoing cavity of Leavell’s gospel-tinted piano, skin-against-skin smack of Jaimoe’s congas, or sweet dobro lines laid down by Betts, this version betters all previous pressings by bringing you, the listener, as close to the studio as any record feasibly can.

Having stayed at the top of the Billboard charts for five consecutive weeks, Brothers and Sisters constitutes the Allman Brothers Band’s biggest commercial triumph. Given the circumstances surrounding its creation, such an accomplishment hardly seemed possible. Fresh from licking their wounds over Duane’s tragic motorcycle accident, the group experienced déjà vu when Oakley met the same fate just blocks away from where his mate was killed. Rather than collapse, the Allman Brothers Band tightened up and mellowed out, inviting Leavell to join instead of recruiting another guitarist.

What the sextet gets in return for its troubles is music that marks the concrete beginnings of a form that soon become known as Southern rock. Leavell and Betts exchange notes as if the pair has been trading ideas since they were children. Slide guitars still tread over greasy grooves, yet the Allman Brothers Band digs deeper into country dirt, parlaying a twang anchored by Betts’ picking and abetted by Gregg’s organic, shot-of-blues vocals. The laidback vibe manifests on the signature “Ramblin’ Man,” a hit evocative of the record’s breezy melodies and friendly interplay.

The cover art further reveals the Allman Brothers Band’s mindset. Golden, tranquil, idyllic, Southern, loving: It’s a paradise-longing view that would soon come crashing down in the group’s lives but one that, for the duration and existence of Brothers and Sisters, remains gloriously undisturbed.

The Allman Brothers

$34.99

140 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed

Import

The quality, dynamic performance and ambience encompassed herein all at once make for a quite staggering sonic experience, one that fans of this legendary act in its original line-up will relish alongside the groups other essential releases.

That good fortune and success can be short lived and transitory has been rarely illustrated better than by the awful circumstances that befell the Allman Brother Band in 1971 and 1972. The group's debut and sophomore albums, released in 1969 and 1970 respectively, had achieved relatively low sales outside of the southern states, but reviews were generally positive and American critics, particularly those writing for the by then almost biblical Rolling Stone, had come out in favour of the Allmans. But it was to be the marvellous live set recorded at New York's Fillmore East in March of 71 that would provide for the commercial breakthrough that turned the group from local curios into national treasures. The album, simply titled At Fillmore East, went on general release in July and both the critical reception and the sales were phenomenal. The road was where the Allmans had paid their dues and built up their core audience, and it was this same platform upon which the band and their managers knew they must now promote both band and record in the wake of their new found celebrity. So, back in New York a month after the release of Fillmore East, The Allman Brothers Band pulled up outside the city's A & R Studio on August 26th, to perform a show but one not just for the enjoyment of those fortunate enough to secure a ticket, but also for those within earshot of NYC's legendary radio station WPLJ FM, who were lined up to transmit proceedings live across the airwaves. The resultant broadcast is presented on this LP, available legitimately for the first time. A favourite of many tape and rarities collectors, the quality, dynamic performance and ambience encompassed herein all at once make for a quite staggering sonic experience, one that fans of this legendary act in its original line-up will relish alongside the group s other essential releases. Two months after this remarkable show went out, Brother Duane Allman, one of the world's finest ever rock and blues guitarists, was tragically killed in a motorcycle accident. Little more than another year on, in November of 1973, ABB bassist Berry Oakley sustained a similar fate in a separate crash, just three blocks from Duane's fatal accident spot. This release showcases one of the final appearances of the original Allmans line up and remains not just a delightful listening experience but additionally serves as a fitting tribute and historical document to the legacy of this iconic American rock group.

The Allman Brothers Band

Dickey Betts Leads Group Through Mellower Country Rock, Pairs With Pianist Chuck Leavell

Chart-Topping Album Includes Smash “Ramblin’ Man” and Favorites “Jessica” and “Southbound”

Brothers and Sisters is significant for myriad reasons. It’s the first album the Allman Brothers Band made in its entirety after Duane Allman’s death. It also came after bassist Berry Oakley’s spookily similar passing, yet he appears on two of the songs. The 1973 set also marks the emergence of guitarist Dickey Betts as the collective’s leader. And pianist Chuck Leavell’s arrival. But for than anything else, the record remains noteworthy for its incredible soulfulness and completeness.

Having stayed at the top of the Billboard charts for five consecutive weeks, Brothers and Sisters constitutes the Allman Brothers Band’s biggest commercial triumph. Given the circumstances surrounding its creation, such an accomplishment hardly seemed possible. Fresh from licking their wounds over Duane’s tragic motorcycle accident, the group experienced déjà vu when Oakley met the same fate just blocks away from where his mate was killed. Rather than collapse, the Allman Brothers Band tightened up and mellowed out, inviting Leavell to join instead of recruiting another guitarist.

What the sextet gets in return for its troubles is music that marks the concrete beginnings of a form that soon become known as Southern rock. Leavell and Betts exchange notes as if the pair has been trading ideas since they were children. Slide guitars still tread over greasy grooves, yet the Allman Brothers Band digs deeper into country dirt, parlaying a twang anchored by Betts’ picking and abetted by Gregg’s organic, shot-of-blues vocals. The laidback vibe manifests on the signature “Ramblin’ Man,” a hit evocative of the record’s breezy melodies and friendly interplay.

The cover art further reveals the Allman Brothers Band’s mindset. Golden, tranquil, idyllic, Southern, loving: It’s a paradise-longing view that would soon come crashing down in the group’s lives but one that, for the duration and existence of Brothers and Sisters, remains gloriously undisturbed.

The Allman Brothers

$39.99

180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed

Discontinued

Import

During the recording of this album, band leader Duane Allman was tragically killed in a motorcycle accident. Still reeling from their loss, the band nonetheless managed to complete this classic album with Dickey Betts on guitar. In tribute to Duane, however, they chose to bring the album to a close with a 34-minute jam taken from the Fillmore East sessions, which showcased what an amazing guitar player and force to be reckoned with Duane really was. Includes 3 bonus tracks and a replica of the original insert." The 4th Allman Brothers album, originally released in 1972. 180 gram virgin vinyl, deluxe gatefold sleeve.

Track Listing:
1. Ain't Wastin' Time No More
2. Les Brers In A Minor
3. Melissa
4. Mountain Jam
5. One Way Out
6. Trouble No More
7. Stand Back
8. Blue Sky
9. Little Martha

The Allman Brothers Band

$29.99

Gain 2 Ultra Analog 180 Gram Audiophile Virgin Vinyl LP - Sealed

Idlewild South, the sophomore release from America's sovereign Southern rock band the Allman Brothers, is easily their greatest studio album. Unlike the band's labyrinthine live shows, which are distinguished by their immense, walloping swamp rock, this album focuses on the considerable songwriting capabilities of Gregg Allman and Dicky Betts. Plus, it showcases the bands original lineup, before multiple tragedies began taking their toll: The lightning slide guitar of Duane Allman, the vocals and Hammond B-3 of his brother Greg Allman, lead guitarist Dickey Betts, bassist Berry Oakley, and the thunderous drum tandem of Butch Trucks and Jaimoe Johanson. This album lays bare their talent for weaving disparate but distinctly Southern elements of rock, gospel, soul, jazz, and R&B into a cohesive and original whole. The legendary Engineer/Producer Tom Dowd oversaw these sessions, which resulted in the Bible-thumping Revival, the smash hit Midnight Rider, the dirty blues of Don't Keep Me Wonderin', the soul-soothing Please Call Home, and the legendary In Memory of Elizabeth Reed, which would go on to become the penultimate Allman Brothers' concert war-horse.

The Allman Brothers

Considered by many to be one of the greatest live albums of all time, this classic album by the Allman Brothers, recorded at the pinnacle of their success, was a huge hit for the band. In 1971, the Allman Brothers were already one of the most popular groups in America, but by the time this album hit the streets their brand of Southern rock had become a national obsession. Live At Fillmore East was also the band's last with guitar hero Duane Allman who was killed in a motorcycle accident later that year.

As a founding member of the one and only Allman Brothers Band and in his own storied solo career, Gregg Allman has long been a gifted natural interpreter of the blues, his soulful and distinctive voice one of the defining sounds in the history of American music. Low Country Blues marks the legendary Rock & Roll Hall of Famer's seventh solo recording and first in more than 13 years. Produced by T Bone Burnett, the album finds Allman putting his own stamp on songs by some of the blues giants whose work has long informed his own, from Muddy Waters and BB King to Buddy Guy and Magic Sam. Named for the coastal Georgia region Allman calls home, Low Country Blues stands as a high water mark in an already remarkable body of work, rich with passion, verve, and the unerring confidence of a true survivor.

Though Allman has been a constant presence on the road over the past decade, with the Allman Brothers Band as well as with his own crack combo, he has spent precious little time in the studio since the 2002 death of producer Tom Dowd - the man behind the glass for much of his recorded career. So when his manager suggested he veer off from a 2009 tour for a Memphis meeting with the multiple Grammy Award-winning Burnett, Allman admits to being not entirely enthused.

"I said, 'Oh man, I don't wanna start meeting a string of dudes, all of 'em trying to outdo the other one," he recalls. "But we stopped in Memphis and here comes T Bone. The first sentence out of his mouth was something like, 'Tommy Dowd was The Man, wasn't he? I've patterned a lot of my stuff after that gentleman.' I thought, 'Right, what've we got here?'"

The two musicians quickly bonded, chatting about favorite records, mutual friends, and reminiscences of Nashville's renowned clear channel station, WLAC, which introduced rhythm & blues music to a generation of late night listeners from New York to Miami. "He told me some guy gave him a hard drive, it has 10,000 obscure blues songs," Allman says. "He says, 'I'm gonna pick out twenty of 'em and send 'em to ya and you tell me what you think.' He said, 'They're old, like Billie Holliday old, and when you listen to 'em, I want you to think about us gettin' in there and about bringin' 'em up to today.'"

Allman found the idea irresistible and in January 2010, a stunning combo was assembled at Los Angeles' The Village Recorder, comprising Burnett and Doyle Bramhall II on guitars, backed by the brilliant rhythm section of upright bassist Dennis Crouch and drummer Jay Bellerose. What's more, the lineup included a brass section arranged and conducted by trumpeter Darrell Leonard, whose illustrious resume extends back to his work with Delaney Bonnie & Friends (featuring Gregg's late, great brother Duane). As if that weren't enough, sitting in on piano was a dear old friend, the Night Tripper himself, Mac "Dr. John" Rebennack, with whom Allman co-wrote "Let This Be A Lesson To Ya'" on the Gregg Allman Band's 1977 classic, Playin' Up A Storm.

This powerhouse band - which of course also features Gregg's own acoustic guitar expertise and trademark Hammond B-3 organ - cooks up an earthy and atmospheric musical stew infused with gritty R&B muscle, spooky Southern psychedelia, and greasy deep soul grooves.

Like any genuine bluesman, Allman's own life has been colored by myriad triumphs and too many tragedies. Low Country Blues was initially slated for a mid-2010 release, but that plan changed when Gregg, who had long battled chronic Hepatitis C, was notified that he was a candidate for a liver transplant. In June 2010, he entered the Mayo Clinic in Jacksonville, Florida where he successfully underwent the difficult surgery. Knowing that he had only just made one of the defining albums of his recorded career proved to be the best medicine, giving Allman the inner strength he needed to fully heal.

The Allman Brothers

$34.99

180 Gram Audiophile Virgin Vinyl LP - Sealed

The band that has been through so much and then some released Reach For The Sky in 1980. The transition from their origins of groovy Blues Rock (with Duane Allman still in their ranks) to Country Rock had been completed around this time. Under the leadership of guitarist and original member Dickey Betts and founding member/organ player Gregg Allman the band churned out eight songs for this gospel-infused album. Reach For The Sky even attained a minor hit with the song "Angeline".

Track Listing:
1. Hell And High Water
2. Mystery Woman
3. From The Madness Of The West
4. I Got A Right To Be Wrong
5. Angeline
6. Famous Last Words
7. Keep On Keepin' On
8. So Long

The Allman Brothers Band

$79.99$74.99

180 Gram Audiophile Virgin Vinyl LP Box Set - 4 LPs Sealed

Temporarily out of stock

One of the best live albums of all time is about to get considerably better. The Allman Brothers Band’s cornerstone LP, At Fillmore East, compiled from the four sets recorded on the weekend of March 12-13, 1971, has been expanded, stretching over 4 LPs featuring unreleased tracks. Additionally, The 1971 Fillmore East Recordings contains the complete June 27 performance during the iconic venue’s final weekend, after the band was handpicked by impresario Bill Graham to headline closing night. Produced by Bill Levenson, who compiled the definitive Skydog: The Duane Allman Retrospective (Rounder, 2013), The 1971 Fillmore East Recordings captures the most inspired improvisational rock unit ever at the peak of their prodigious powers, blazing their way through extended instrumental elaborations, so taut and virtuosic, that the crowds that packed the Fillmore East on those memorable nights were utterly transfixed. When it came to live performance, no other band could touch the Allmans.

Sonic Spectacular: Mastered from the Original Master Tapes, Mobile Fidelity Edition Captures Grit of Live Tracks and Organic Soul of Studio Cuts

Includes Standout 33-Minute-Plus Epic “Mountain Jam”

Features Complete, Accurate Reproduction of Gatefold Artwork

Tributes to fallen icons don’t come any more poignant or illustrative than Eat a Peach. Released in early 1972, slightly more than three months after guitarist Duane Allman died in a motorcycle accident, the double album honors the musician via sides he recorded in the studio as well as several live performances that didn’t fit on the mammoth At Fillmore East. The Allman Brothers Band, determined to press on, also contributes a trio of songs completed after their soulmate’s passing. Its execution is near perfect, its concept timeless.

Mastered from the original master tapes and pressed on dead-quiet vinyl RTI, Mobile Fidelity’s 180 gram 2LP of Eat a Peach joins the unparalleled reissue imprint’s other Allman titles in presenting the superlative ensemble’s work in the most lifelike, uncompromising fidelity possible. Not only is the punch of the concert fare transmitted with full-range dynamics and realistic spaciousness, but the studio cuts—in particular, the acoustically framed “Melissa” and “Little Martha”—come through with astounding clarity and body, replete with textural richness that affords listeners images of fingers on frets and sticks hitting drum skins.

In all probability, the Allman Brothers Band would’ve leapt to the fore of music’s commercial and critical elite had it not been for Duane’s fateful motorcycle accident that altered history and the trajectory of the group’s course. A statement of purpose and homage, Eat a Peach extends the guitarist’s legacy in the form of three heart-racing live tunes recorded at Fillmore East, none more important than the nearly 34-minute harmonic showcase “Mountain Jam.” Begun at the end of “Whipping Post” during the final show of the group’s four-gig stand, the tour de force improvisation finds the band at the peak of its telepathic aural and communicative capacities.

Not that the three studio originals with Duane are by any means forgettable. “Blue Sky” epitomizes the gorgeously elegant colors with which the late virtuoso could paint while the heart-stopping sentimental feel of “Little Martha” finds just he and Dickey Betts engaged in spiritual communion. To this extent, the band continues a mellower vibe on the hit “Melissa,” a country-rock ballad that taps into a melancholy feel largely courtesy of Gregg Allman’s weary vulnerability and Betts’ lyrical, slap-back-echoing guitar lines.

Yet nothing here eclipses the direct meaning and steadfast intent of the record-opening “Ain’t Wastin’ Time No More,” a defiant showing of unity and understated anthem with which the band seemed to embrace as a motto. No one knew, however, that fate would again subvert the group’s plans even if it could never take away the magic held within Eat a Peach, sonic and lyrical sorcery that extends to the legendary gatefold-artwork mural.

Track Listing:
1. Ain’t Wastin’ Time No More
2. Les Brers in A Minor
3. Melissa
4. Mountain Jam
5. One Way Out
6. Trouble No More
7. Stand Back
8. Blue Sky
9. Little Martha

The Allman Brothers Band

Unrivaled Sonics: Mastered from the Original Master Tapes, Mobile Fidelity Edition Provides Window Into What Went Down at New York’s Atlantic Recording Studios

Gregg and Duane Allman and Co. Cook on Edgy, Soul- and Blues-Filled Fare

Includes Original Version of "Whipping Post," Cover of Muddy Waters' "Trouble No More"

They hailed from Macon, Georgia. They looked liked any number of young, hopeful bands straddling the violent fade of the 1960s with the advent of the 1970s. They missed the British Invasion-triggered blues revival by several years. Yet they sounded like no other group, their youthfulness belied by virtuosic abilities and interlocking interplay Miles Davis would've envied. It all starts here, on a smoldering self-titled debut that has few peers.

Mastered from the original master tapes, Mobile Fidelity's 180 gram LP of The Allman Brothers Band joins the unparalleled reissue imprint’s other Allman titles in presenting the inimitable group's music in the most lifelike, uncompromising fidelity anyone has ever heard. Opening up the dynamic contrasts, clearing direct paths for the frequency ranges, and ensuring optimal balances and neutrality, this edition takes listeners to the producer’s chair at New York’s Atlantic Studios as the sessions went down. The Allman Brothers Band has never sounded so crisp, clear, or defined.

Having already cut its collective teeth via live shows throughout the South, the Allman Brothers Band was properly vetted for its initial major-label foray. In particular, Gregg and Duane Allman had done stints in several other collectives that recorded a handful of long-forgotten records. Duane, too, established himself as a go-to whiz-kid slide and lead guitarist, becoming a session instrumentalist for Muscle Shoals’ FAME Studios and playing with the likes of Aretha Franklin, Percy Sledge, Wilson Pickett, and others.

He and organist/vocalist Gregg’s deft touch and innate knack for soulful tonalities help define his namesake group’s eponymous debut, notched with raw-boned R&B and purifying gospel motifs that seeped into the duo’s consciousness while growing up in Jacksonville. Complemented by likeminded lead guitarist Dickey Betts and a trio of similarly minded masters, the siblings quickly changed history on this 1969 set famous for stunningly resonant blues, spirit-moving soul, and polyrhythmic rock.

Entering with a memorable one-two punch in which fluid jazz lines mutate into an anguished 12-bar blues exchange between Gregg and Duane, continuing with an edgy and worthy take of Muddy Waters’ “Trouble No More,” and closing with the landscape-shifting workout "Whipping Post," a preview of things to come, The Allman Brothers Band contains no flaws. Then there’s the aching of "Dreams," a melodic 12/8-time piece showcasing slide-guitar voodoo and psychedelic aftertastes. Don’t miss this stellar work.

The Allman Brothers Band is a band from Macon, Georgia labeled by the Rock and Roll Hall of Fame as "the principal architects of Southern rock." Originally formed in 1969, two years later they were described by Rolling Stone's George Kimball as "the best damn rock and roll band this country has produced in the past five years." Noted for their impressive jamming and improvisational abilities (best exemplified by their album At Fillmore East), the band has been awarded eleven Gold and five Platinum albums between 1971-2005 and continues to record and tour to present day.